Intelligence is a prized commodity that governments and businesses appropriate for their own needs, but don’t always appreciate the ones who provide it. Alan Turing was loved by Great Britain for his decoding work during World War II and was derided for his failure to conform to social norms after the war. Breaking the Code masterfully explores the isolating nature of “polite” society.

Underground Railroad Company and Catalyst Collaborative@MIT bring the audience into the world of Alan Turing’s mind and memory. Performed in the round, the audience literally steps into Janie Howland’s set of inverse geometric spirals as they take their seats. Strings across the walls and ceiling connect formulas and ideas. Following the idea of the spirals, director Adam Zahler has Turing (played by Allyn Burrows) follow these patterns as Turing moves through the various moments of his life. The set and the action become an extension of Alan Turing’s personality. Continue reading →

How do you fit the story of a ten year war into a night of entertainment? First, take a familiar piece of material; second, get two talented actors; third, have Actor’s Shakespeare Project produce it. Many students have struggled with The Illiad in school. Jon Lipsky reinvents Homer’s story of the epic battle of Troy. Continue reading →

Greg (Andy Macdonald) confronts Carly (Danielle Muehlen) who is responsible for his break-up in a scene from the SpeakEasy Stage Company production of Neil LaBute’s Broadway hit reasons to be pretty, Photo: Craig Bailey/Perspective Photo.

“Sticks and stones may break my bones, but words will never hurt me.” When we get out of high school, we hope the teasing will stop; however, we find new forms of teasing in fashion magazines, tv shows, and hanging out with friends. Have we become too sensitive? No. But where do we draw the line? How do we stop feeling put down by the world and begin feeling secure in ourselves? Speakeasy Stage Company’s production of reasons to be pretty by Neil LaBute makes us examine these questions through their dynamic production.

Anyone who knows about LaBute should not be too surprised by the tirade of expletives that open the play. They will not be too surprised that the cause is Steph, played by Angie Jepson, who hears that her boyfriend Greg, played by Andy McDonald, has described her face as “regular”. While it is an extreme reaction, we understand that it is akin to any answer to the question “do my jeans make my butt look fat?” Andy McDonald plays a calm, normal guy who dodges the verbal missiles on all sides, but still ends up with Steph leaving him. Angie Jepson’s belligerent performance is matched by the vulnerability she displays when Steph keeps returning to Greg for approval. Continue reading →

Resident acting company member Joe Wilson, Jr. as Eugene and Brown/Trinity Rep MFA actor Rachel Christopher ’11 as Alma in Yellowman by Dael Orlandersmith, directed by Laurie Carlos, now through April 3 at Trinity Rep. Set design by Seitu Jones, costume design by William Lane and lighting design by Michael Wangen. (photo: Mark Turek)

Reviewed by Becca Kidwell

“We hate everything we are told to hate until we realize it is us, ourselves, a new baby just had as we lower her into the well.” Laurie Carlos, Director

Are we the products of our past? As if being birthed from their own parents’ hatred, Rachel Christopher as Alma and Joe Wilson, Jr. as Eugene enter to rhythmic breathing and begin to tell their separate, yet intermingling stories of their lives. Under the direction of Laurie Carlos, Trinity Rep creates an evening of dance and poetry–of lives brought together–and torn apart.

Alma is raised by her mother Odelia who passes on her ingrained hatred of being dark-skinned. Alma complains about being fat and big, but even in childhood Eugene is attracted to her. Eugene grows up being hated for his light-skin by many Continue reading →

Caroline Worra stars in satire of the fall of the Roman Empire, opening March 11

Production features three countertenors: Anthony Roth Costanzo,
David Trudgen and José Alvarez

WHAT: Witness the ultimate stage mother have a major melt-down in one of opera’s most intense “mad scenes,” as she plots to make her son Nero Emperor of Rome in BLO’s production of Handel’s fast-paced Agrippina. This light and frothy opera with insidious undertones is based in historical fact, weaving the twisted tale of a mother’s desperate scheme to remove her husband from the throne and elevate her spoiled teenage son…creating a complicated intrigue of shifting alliances and turning the Imperial court into a nest of elegant vipers.

This classical yet modern production, created by Glimmerglass and New York City Opera, features exciting debuts and is the third in BLO’s 2010-2011 Season; it will be presented at the Citi Performing Arts CenterSM Shubert Theatre. Three countertenors, a five-piece continuo group and an elevated orchestra pit built specifically for the production will immerse the audience in a uniquely Baroque experience. Continue reading →

Freud’s Last Session by Mark St. Germain, Barrington Stage Company Production, The Marjorie S. Deane Little Theatre at the West Side Y. (Off-Broadway). 1st Run: July 22-November 27, 2010, 2nd Run: 1/14/11-open run.

Reviewed by Becca Kidwell

What would happen if Sigmund Freud and CS Lewis took a meeting? That is the premise of Mark St. Germain’s play Freud’s Last Session. Freud, played by Martin Rayner, invites the young scholar CS Lewis, played by Mark H. Dold, to find out how someone who had been a rational atheist could be deluded into believing in the “myth” of Christianity. Dr. Armand M. Nicholi, Jr.’s book, The Question of God, influenced St. Germain to posit what might transpire between these strong individuals. Continue reading →

R. Buckminster Fuller: THE HISTORY (and Mystery) OF THE UNIVERSE. Performed by Thomas Derrah. Photo: Marcus Stern.

Warning: contains profound thoughts

Reviewed by Becca Kidwell

When someone asks me what subjects I liked when I was in school, I always say “all except science, I HATE science.” What I have learned over the past few years is that I have hated science because no one made it interesting for me. R. Buckminster Fuller: The History (and Mystery) of the Universe reminds me again that love of science and love of learning start with a person who engages, challenges, and pushes you to see the world in new ways.

The one-man show connects theories of science, philosophy, sociology, and sustainability to life. Fuller comes to life in such a way that the audience feels that they are at a “real” lecture. Thomas Derrah presents the same frenetic and contagious energy that was Bucky Fuller’s trademark. He bounces and dances around as he explains his principles for improving “spaceship earth” and also questioning all of the norms that surround us. Like Bucky, he uses any and all forms of media that are available to him to get his point across. Continue reading →

Steve Yockey’s afterlife: a ghost story should be subtitled an evening of one acts. While both acts of the play contain the same characters and themes, the familiarity ends there. Act I displays a realistic, yet mundane evening between a grieving couple; they are packing up the beach house where they used to live. They talk around the subject of their son’s death, but other than some yelling and “crying” they really remain stuck in one place until their house is washed away. Act II portrays a fantasy world (somewhere between heaven and hell) where the Danielle, Connor, and their son work out their grief. They receive the assistance of a postman, a proprietress, another ghost, and a bird puppet. afterlife: a ghost story has potential to transform into an interesting play if the first act removes ninety percent of its action and the second act has the chance to develop more fully. Continue reading →

“Who do you think you are?” With each generation, the answer to that question becomes more ambiguous and cryptic. Yet, the question does not go away and becomes the fulcrum for the conflict in Brandon Jacob-Jenkins’ play Neighbors. Company One does not apologize for the rawness of the material, but embraces it and challenges the audience to do the same.

The young actors Lori Tishfield and Tory Bullock steal the show. Ms. Tishfield’s portrayal of Melody Patterson, a confused teenager of a mixed-race family, underscores the need for love, acceptance, and belonging that we all search for. Her honest performance is matched by the sweet naiveté of Tory Bullock as Jim Crow, Jr. Jim does not want to follow in his father’s footsteps as a performer, but becomes more comfortable as he develops a relationship with Melody. Continue reading →

Resident acting company members Stephen Berenson, Anne Scurria, Timothy Crowe, Fred Sullivan Jr. and Angela Brazil in It’s a Wonderful Life: A Live Radio Play adapted by Joe Landry, co-directed by Curt Columbus and Tyler Dobrowsky. Set designs by Michael McGarty, lighting by John Ambrosone, costumes by Alison Walker Carrier. (photo: Mark Turek)

Trinity Rep brings a warm new tradition to its stage. The endearing story of George Bailey receives new life in this stage adaptation by Joe Landry. The production does not offer perfection, but it does offer a fun family night out. Set in a 1940’s radio station, the talented five person cast portrays all of the main characters from the story.

The cast consists of the following acting company members: Stephen Berenson, Angela Brazil, Timothy Crowe, Anne Scurria, and Fred Sullivan, Jr. who have proven themselves time and again in dozens of Trinity shows. The play creates a challenge for the actors since the characters are linked with iconic performances such as: Jimmy Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, and Henry Travers; however, the cast manages to uphold audience expectations while making the roles their own. Continue reading →